Hip-hop artist, producer, and one-man musical Swiss army knife Kokayi sat down with TMS to talk about his 2010 record Robots and Dinosaurs, and to share his thoughts on hip-hop and the music business in the 21st century. His latest record, 8Bit ubermentals, covers almost a decade of electronic and instrumental hip-hop produced on his venerable Roland W-30. It’s free and well worth your time, as is the latest free remix EP R3TS&DNSR5 RE1MAG1NED.
TMS: The first thing I wanted to ask you about was the title of the album – Robots and Dinosaurs. Can you talk about where that title comes from, and did you set out to make the album with that theme in mind?
Kokayi: I asked my son what he wanted for Christmas last year, and he said, “Hey dad, I want robots and dinosaurs.” And I was like, oh, ok, because he was five at the time. And I went to work on some music, and it hit me – I was like, wow, robots and dinosaurs. You’re either a robot or a dinosaur. I was listening to a song I was working on, and the longer I sat there and thought about what he said, the longer it all started to play into it.
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Three years ago, a 16 year old Ryeisha Berrain decided that she wanted to try her hand at making music, out of boredom. After meeting producer Blaqstarr, Berrain left a verse on his answering machine which led to their collaboration on 2006′s club hit, “Shake It To The Ground.” A year later, Blaqstarr invited Ryeisha to the studio to meet some people who liked her songs. She didn’t recognize them. It was M.I.A. and Diplo. M.I.A. had gone crazy over Ryeisha, who we know now as Rye Rye. The first signee to M.I.A.’s N.E.E.T label was immediately taken around the world on tour. Just like that. And we’re approaching the release of her Diplo-produced, M.I.A.-championed debut. Just like that. From boredom to truly, truly, big shit.
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Broken Records’ 2nd LP Let Me Come Home is released in the UK today. Last week TMS had a chat with Ian Turnbull from the group about the new record, and what’s been going on in Broken Records’ world since their first record Until the Earth Begins to Part came out in 2009…
TMS: Let Me Come Home is out soon: how do you feel about the new LP?
We’re all really pleased with how it’s turned out. It feels like a definite step forward.
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Simon Iddol is the first interview subject we’ve had to journey around his city and take photos for us to include in his post, which is all about the music scene in his hometown of Budapest. But that’s Simon, groundbreaking. In April of 2006, Simon started blogging and producing mashups incognito as the mysterious “DJ from Vatican City.” During his three ‘Vatican Years’, Simon Iddol became one of the key figures of the mashup scene and culture as well as the most influential music blogger in Eastern-Europe, beginning Mashuptown.com (co-owner fall 2006 – May 2007) and AudioPorn Central (founder August 2007 – present), voted as the 26th best blog on the BT Digital Awards People’s Choice 2008 and one of the Top100 music blogs in the world. Now, AudioPorn Central is a collective of DJs and producers from all over the world who apart from blogging about music daily, regularly creates cutting edge mashup and remix compilations and mixtapes.
Simon’s latest mixtape is called INFINITY, “a five part dreampop minimix series, the story of one day.” The mix includes Doves, La Roux, and Midnight Juggernauts to name a few. Check out the full track listing here and download the entire mix right here.
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Glen Brady, aka DJ Wool, is a DJ and Music Producer, co founder of Berlin based label We Collect Enemies and a founding member of Indie Dance duo The Glass with Dominique Keegan of Plant Records (co-owned by Hip hop pioneer Stretch Armstrong). A Dublin native and Berlin transplant via Brooklyn (did you get all that?) Brady has been tearing-up the Berlin music scene with his original music and remixes.
His latest release, The Dark Snuggler with remixes by Lars Moston, Boeos Kaelstigen and Jetlag, is available on Beatport and iTunes on We Collect Enemies. Brady jet sets back and forth across America and Europe touring at a near constant rate but was kind enough to take a breather and let us in on the secrets of his Berlin…
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Earlier today, I chatted with Cazwell. Enjoy our full exchange below:
1. Has the success of ‘Ice Cream Truck’ surprised you?
Marco Ovando (director) and I were hoping that the video would get 100,000 hits. There was a rapid response to the clip. Once it surpassed a million views, I could tell that things were changing – straight people were recognizing me on the street! Also, since the video’s debut, I’ve been offered ten times more gigs than ever before. People are definitely looking at me differently.
2. What’s your favorite ice cream flavor?
Coconut Bliss!
Read the remainder of this interview AFTER THE JUMP…
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Earlier today, I chatted with SVIIB’s Benjamin Curtis. Our full exchange:
1. What’s the inspiration behind Disconnect From Desire‘s cover?
We were having a conversation with Bryan Collins, who also did the artwork for Alpinisms, about symbols and iconography, which at the time we all happened to be interested in independently. We were discussing the personal, and emotional aspect to the new music, and Alley mentioned this idea of a “Sigil”, which is an interesting concept if you’re feeling brave and want to wade into the deep end of these sort of new age-y concepts. But, the concept is actually pretty powerful. The idea is to write a statement of intent, or something you want to put out into the universe, and then reduce the words down systematically to just a few letters. Then, you make a design out of what is left that isn’t recognizable from what it’s made from. Bryan was floored by the idea and went to town. I love it because it’s become a unique symbol that contains the words “Disconnect From Desire” and all the ideas behind it. Symbols and icons can be really fun like that.
2. Can you further explain the concept of ‘Babelonia’?
It seems to me it’s about a conflicted character. She seems to be realizing that the things she’s been taught her entire life, all the things she’s been depending on, are just stories she was told and aren’t the truth at all. Maybe she’s realizing she can only really depend on herself, which maybe is something all of us go through at some time or another.
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Last week (on a gorgeous summer evening), I had the pleasure of chatting with Australian chanteuse, Sarah Blasko. Additionally, Sarah performed two selections from her beautiful new album (produced by Peter Bjorn & John’s Bjorn Yttling), As Day Follows Night. Visit Sarah Blasko on MySpace. Be certain to follow her on Twitter. Videography courtesy of Micah Weisberg.
Enjoy ‘All I Want’ & ‘We Won’t Run’ AFTER THE JUMP…
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Earlier today, I chatted with Delphic’s Matt Cocksedge. Our full exchange:
1. How would you describe Delphic in twenty words or less?
Ambi-dance. Post-dance. Electronic music with soul.
2. Are you excited for your first-ever US tour?
It’s unbelievable! In the UK, so much of our culture is your culture. A few hours ago, we realized that we were on Broadway. We passed Macy’s & Bloomingdale’s – they’re not just in films, they’re actual places!
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Earlier today, I chatted with CocoRosie. Enjoy our full exchange below:
1. How did Argentinian culture help shape Grey Oceans?
WE ARE NOT DRAWN TO THE IMAGERY OUTSIDE OUR WINDOW. WE DRAW FROM OUR PAST AND FROM OUR FANTASIES. CHINA AND INDIA HAVE BEEN A SUBTLE INGREDIENT IN THIS RECORD.
2. What’s the inspiration behind the video for ‘Lemonade’?
THE DARK CRYSTAL.
Read the remainder of this interview AFTER THE JUMP…
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